mardi 31 janvier 2017

Source Gulte
Have you ever wondered how much the costliest ever artwork produced by an Indian was sold for? Its just under Rs 30 Cr, mind-boggling isn't it? An Untitled oil painting by Vasudeo S Gaitonde, one of India's renowned abstract painters, has been announced the most expensive Indian artwork sold since 1965. This painting was sold for a whopping Rs 29.3 Cr (4.000.000 €) at an auction in Mumbai in December last year. Artery India, an eminent Indian art market intelligence firm, has come up with a list titled 'Artery Top 500 Works', which comprises the 500 most expensive Indian artworks.The cost of all these 500 paintings put together is Rs 1,936.60 Cr. The featuring works were sold at various global auctions since 1965.
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Publié par
Herve Perdriolle

lundi 30 janvier 2017

Source Feminism In India by Nupur Preeti Alok
She adopted a free independent provocative lifestyle in Paris. Her sense of liberation was visible through her art and her lifestyle both. It is believed that during the 1930s while she was living in Paris, she lived her life to the fullest and had homosexual relations with her best friend and roommate Marie Lousie Chassney, which both denied. In one of her letters, she wrote to her mother that she would have something with a female when the opportunity arises. She was attached and associated to many men at different points of her life, and is believed to have had a very sexually liberated life for the era she belonged to. In an article titled Modern Indian Art in the Hindu (November 1936), Amrita wrote, “The Indian art committed the mistake of feeding almost exclusively on the tradition of mythology and romance. I am an individualist evolving a new technique that though not necessarily Indian in the traditional sense of the word, will yet be fundamentally Indian in spirit.”
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Publié par
Herve Perdriolle

samedi 28 janvier 2017

Source The Hindu by Georgina Maddox
The Special Art Projects programme will present a selection of outdoor and indoor works — their creators span the range from high-profile Indian artists like Reena Saini Kallat, Sudarshan Shetty and Mithu Sen, to international artists like the Algerian-French Francis Limerat, Joël Andrianomearisoa and Anila Quayyum Agha, a Pakistani-American artist who has been making waves at Art Dubai with her evocative creations. Other emerging names like Parul Gupta, Hemant Sreekumar, Avinash Veeraraghavan and Rathin Barman can also be spotted at this section. Limerat’s work is minimal and relies on viewer’s participation to make it come alive. At the fair he is displaying a column of wood that has been perforated with voids and lines, and viewers are invited to peek through them. The work is a playful confrontation.
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Source Livemint by Vangmayi Parakala
The four-day India Art Fair starting 2 February in Delhi will be the fair’s ninth iteration and will see the return of Platform, the segment focused on art from South Asian countries. This means that you will be able to view work from the galleries of neighbouring countries, like the Britto Arts Trust from Dhaka, the Nepal Art Council from Kathmandu, and the Theertha International Artists’ Collective from Colombo. A new space, curated by Annapurna Garimella, will be titled Vernacular In Flux. It will showcase Gond and Madhubani artists, and Mysore and Guruvayur painters and sculptors who have emerged with highly original works of art, practising within these traditions. Notable artists in this space include Jangarh Singh Shyam and Bhajju Shyam.
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Publié par
Herve Perdriolle

jeudi 26 janvier 2017

Source Verve by Nittal Chandarana
India Art Fair 2017 returns with an eclectic line-up of artists and art galleries. Platform, the unique venture that brings emerging as well as established work from South Asia into the limelight, returns with galleries like Blueprint 12 (New Delhi), Theertha International Artist’s Collective (Sri Lanka) and Britto Arts Trust (Dhaka, Bangladesh) participating this year. The Speaker’s Forum brings together curators, critics, gallerists and collectors for cultural discourse and discussion alike. The fair also sees Vernacular in Flux — a new curated space which focuses on vernacular art, a collector’s programme and a film programme, among other exciting events.
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Source Blouin Art Info by Archana Khare-Ghose
Being a part of Satish Gujral’s family must be a weighty legacy to carry. But Feroze Gujral, the veteran artist’s daughter-in-law, wears it with elan. As somebody at the forefront of India’s art eco-system, she has expanded her scope of activities to not just nurturing the legacy of her father-in-law’s sprawling oeuvre but fostering upcoming artists who need institutional support to push the envelope. “I hope that we, at the Gujral Foundation, are able to help those who are breaching new frontiers,” says Gujral in a chat with Blouin Artinfo.
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Source Harper's Bazar
The 2017 India Art Fair, which takes place from 2-5 February in New Delhi, is a fair on the rise. With a new investor in the form of the Swiss-based MCH Group, this year marks a new chapter for the Modern and Contemporary art fair. MCH Group is the owner of the powerful Art Basel franchise, whose trio of events in Basel, Miami Beach and Hong Kong dominate the realm of high-end Modern and Contemporary art fairs. In September, MCH announced it had taken a majority stake in the India Art Fair, the first move in its plan to expand by buying stakes in smaller, existing regional art fairs. It’s important to note that this does not mean the India Art Fair will come under the Art Basel umbrella and organisation will be entirely separate. However, MCH’s move on the India Art Fair both recognises the importance of India as an important and growing market and, potentially, elevates it to another level, with the injection of capital and expertise afforded by such a large exhibition organiser.
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Publié par
Herve Perdriolle

vendredi 20 janvier 2017

Source Artnet by Brian Boucher
It’s the rare art fair that inspires visitors to say to one another again and again, as they walk up and down the aisles, “Don’t you love coming here each year?” But the Outsider Art Fair is that kind of event. Open this weekend at New York’s Metropolitan Pavilion, on West 18th Street, the fair’s 25th edition brings together dozens of international dealers showing work by untrained artists, and you’re sure to find something you’ll want to take home. Here are some favorites we found, some by unknown artists, some by Outsider superstars, while roaming the VIP preview on Thursday afternoon, attended by a record-breaking 3,500 people, according to the organizers.
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Publié par
Herve Perdriolle

jeudi 19 janvier 2017

Source The Wall Street Journal by Charles Passy
Ever since the term “outsider art” was coined decades ago, museum curators and gallery owners have debated its merits. Some say it unfairly casts the self-taught artists who typically fall into the category as unworthy of legitimate consideration. Others think the label is simply too vague. But when it comes to the New York art world these days, there is no debating one fact: Outsider art is definitely “in.” Consider the growth of the Outsider Art Fair, the New York showcase whose 25th edition kicks off Thursday at the Metropolitan Pavilion in Manhattan’s Chelsea neighborhood. The fair now welcomes 60-plus dealers from around the globe who specialize in the burgeoning genre—roughly double the number in the fair’s first year, according to Andrew Edlin, a gallery owner who is behind the event.
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Publié par
Herve Perdriolle

mercredi 18 janvier 2017

Source Verve by Huzan Tata
“We have a number of works by Indians on display at Tate at the moment.There’s a wonderful installation by Sheela Gowda that contains human hair and car bumpers. People are really drawn to this piece, one of the reasons being that it speaks about India’s modernity, and also about tradition. It’s a beautiful way of articulating the importance of India culturally in history. People have been really interested to see the works on paper by Benode Behari Mukherjee, which is on display next to a Matisse. Mukherjee’s work relates deeply to the Asian heritage of collage and fabric, and Matisse’s to another genre, but there is a connection too. I think people are interested in the diﬀerence and also the sameness, the strangeness, the familiarity. We are a nation that has strong historical links with India, so people feel a certain aﬃcity.”
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dimanche 8 janvier 2017

Source Artnet News by Henri Neuendorf
Next year, Fotofest will celebrate a first in its history. The Houston-based nonprofit announced on Thursday that it will focus on artworks from India. The festival, titled “India: Contemporary Photography and New Media Art,” will present the latest creative output of Indian artists and the Indian diaspora. According to lead curator Sunil Gupta, the biennial promises to be one of the most exciting and engaging editions to date. “As a large, multilingual subcontinent, India has always relied on images to maintain a cohesive whole across myriad subcultures, regions, castes and languages,” Gupta said in a statement. He went on to give a few clues about what to expect, saying, “This exhibition will address the legacy of the last 20 years, a period when photography and moving image media have been consistently included within critical exhibitions of fine art.”
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Source The Hindu by Lavina Melwani
n December 2016, the Metropolitan Museum of Art launched the first retrospective devoted to the Indian artist Y.G. Srimati (1926–2007). As Pellettieri points out, she was both modest and charismatic, religious but open to universal ideas and music. Besides north and south Indian music, she loved the Beatles, Elvis Presley, and Mozart. In New York, she reinvented herself as a lecturer and presenter of concerts on college campuses. He recalls, “Most Indian musicians travel with a troupe but she would travel alone; a suitcase filled with her paintings, instruments and her saris. In the 70’s the Vietnam War was going on and there were a lot of protests on campus and she would always end her concerts with ‘Om shanti om’. This created a very warm feeling between her and her audiences. This was the kind of performer she was — she didn’t push herself out but she loved sharing her experiences.”
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This newsletter posted by Hervé Perdriolle in October 2007, tracks the news of the Indian Contemporary Art through an international press review regularly updated.Since 2008 more than 1.800 press articles listed - 145.000 pages viewed.